Classic Stagecraft, Immersive Worlds
The Spectators’ Guild presents plays in atmospheric and significant spaces offering each audience member the chance of adventure.
We are building a dynamic guild of artists, actors and audience members who will have the opportunity to participate and collaborate before, during and after the production, and to own and influence the direction and programming of future work.
Together we can change expectations of how text based theatre is experienced and received.
guild (ɡɪld) or gild
1. an organization, club, or fellowship.
2. (Historical Terms) (esp in medieval Europe) an association of men sharing the same interests, such as merchants or artisans: formed for mutual aid and protection and to maintain craft standards.
The Spectators’ Guild brings together artists, actors and audience members to engage in debate and creatively contribute to new productions.
Together we discover seminal plays, exploring their modern relevance and building a world around them.
If this interests you, we would like you to become a founder member of The Spectators’ Guild by using the form above to email us.
The first 200 people to join The Spectators’ Guild on the social media below and by email above will be invited to attend a special preview in April 2014.
The most dedicated contributors to our online world will have access to open tickets that allow them to revisit play throughout the run.
Click the icons to engage or get in touch.
Helen Scarlett O'Neill
Charlotte studied Drama at Manchester University and trained with TIPP (Theatre in Prisons and Probation) and Augusto Boal's Centre of the Theatre of the Oppressed in Rio de Janeiro. She is Associate Artist at the Gate Theatre.
Recent directing work includes: Brazil (Secret Cinema), Casablanca (Future Cinema), Sunset Baby (Gate Theatre), Titanic by Owen McCafferty (Metrapolitan Arts Centre Belfast), Celebrity 24 Hour Plays 2010 and 2011 (Old Vic), Sixty-Six Books (Bush Theatre), Lower Ninth (Donmar at Trafalgar Studios), My Dad’s A Birdman (Sheffield Crucible), The Obama Project (National Theatre Studio London/ Ingmar Bergman Festival Stockholm), Beasts and Beauties, The Country Wife, The Sea, In The Blood, After the Dance, Killer Joe, Widows (RWCMD), Kindertransport (LAMDA), Kiss of the Spider Woman (Donmar), Darfur- How Long is Never? (Tricycle), When Five Years Pass (Arcola), Gladiator Games- nominated for a 2006 Whatsonstage Theatregoers' Choice Award and part of the season at Stratford East nominated for 2007 Olivier Award for outstanding Achievement in an Affiliate Theatre (Studio, Sheffield Crucible & Theatre Royal, Stratford East), Waiting for Lefty - finalist for 2003 James Menzies Kitchin Award for Young Directors (BAC).
As Associate Director: Piaf, Frost/Nixon (Donmar West End Transfer), Bloody Sunday - Scenes from the Saville Inquiry (Derry Millennium Theatre, Belfast Opera House & Tricycle) and Justifying War (Tricycle).
As Resident Assistant Director at the Donmar: Grand Hotel, Hecuba, Old Times, Henry IV, The Dark, World Music.
Helen Scarlett O'Neill is one of the UK’s foremost theatre designers specialising in site-specific event theatre. Helen works as a performance designer who is not only capable of designing set, light and costume in the traditional theatrical context but also is adept at using unique and complex sites to create a physical and emotional audience journey.
Previous design credits include productions for Punchdrunk, (Faust) Secret Cinema, (all productions from 2010 – 2013) and independent projects for Opera Holland Park, LCO and RAMBERT Dance. She has curated and commissioned work by many different artists including Doug Foster, Houria Niata, Tom Gallant, Rachid Koraïchi, Priscilla Coleman and Alice Roberts.
Harry Ross’ past work includes directing the UK premiere of Toshio Hosokawa's Vision of Lear at
ROH2 for the Japan Festival, producing the operatic version of Seamus Heaney's Burial at Thebes at
Shakespeare's Globe, directed by Derek Walcott. He spent three years at the Festival dei Due Mondi, Spoleto, Italy as Associate Artistic Director, and as Senior Producer at Future Cinema from 2010 – 2013 produced fourteen Secret Cinema and Future Cinema productions.
Harry is also a poet and librettist, collaborating mainly with composer Dai Fujikura. His translation of Solaris by Saburo Teshigawara and Fujikura premières at Théâtre des Champs-Élysées in 2016.
We are also grateful for the support of the Grants for the Arts Scheme of Arts Council England.
We passionately believe in the search for narrative within powerful immersive theatre and immersive involvement within narrative theatre.
If you are interested in financially supporting this vision and the productions that will follow in the years to come please get in touch and join us as we create our adventure theatre together.
The Spectators’ Guild are championing an exciting and bold new direction for British Theatre, combining site responsive production with the highest quality acting and the finest plays.
We are grateful to our founding sponsors, Paynes and Borthwick LLP, a partnership between Lane Castle, United House and LaSalle Investment Management, who have given us the support, encouragement and partnership needed to launch our company.
For PR enquiries please contact Maxim Bendall
by phoning +44 (0) 7540 524 928
or get in touch using the form on the right.
For our most recent press release click here.
For prior press from the creative team click here.
Our inaugural production previews on 24th April 2014
at Paynes and Borthwick Wharf, West Greenwich.
The slide-show on the right is a collection of concept images by Helen Scarlett O'Neill, the designer and Francesca Reidy, the costume designer.
For more information about the production please visit
Tickets for our inaugural production of
Venice Preserv'd by Thomas Otway
at Paynes and Borthwick Wharf, West Greenwich
Are available now from our dedicated information and booking website:
For advance offers and previews you can also sign up to our mailing list by clicking here.